1. In the space below, describe the stasis at the beginning of the play NOT THE FILM of Real Women Have Curves. In other words, “Where are we?” “When is it (time, day, and year)?” “Who are the people involved?” “What is the dramatic situation in which the characters find themselves as the play unfolds?” It is September of 1987 in Los Angeles. Estela is the owner of the Garcia Sewing Factory where she, Ana (Estela’s younger sister), Carmen (Estela and Ana’s mother), Pancha, and Rosalí work.
2. What is the intrusion that causes the stasis to be broken in the play and the dramatic action to develop, often at an increasingly rapid pace, to the end of the play? The intrusion of the play begins with the initial sighting of ‘la migra’. When Carmen spots the van, assuming it is ‘la migra’, all of the women hide out of habit. Remembering that they are legal now, they realize that they have nothing to hide. This leads Estela to confess that she, in fact, is not legal. From there, she explains that she cannot get her green card because of her criminal record. And that she cannot afford a lawyer to resolve her record. Furthermore, she is being sued for not keeping up with her monthly payments on the sewing machinery she bought and cannot be paid unless she fills the dress orders on time. Therefore, Estela and her employees need to complete the dress order by a rapidly approaching deadline in order to pay for her lawyer and dues, clear her record and get her green card (all while under the threat of ‘la migra’ finding and deporting Estela). Overall, the sighting of ‘la migra’ unveils Estela’s web of interconnected dilemmas and sets up the issues that are resolved at the end of the play.
3. Why do the events of the play take place at this particular time and place? In other words, what is the unique factor which is out of the ordinary that causes a turn of events to take place? This is the day that Ana tells her story to the audience.
4. State the dramatic questions that must be answered by the end of the play? (Ordinarily, the dramatic question shares a close connection with the intrusion.) Two of the major questions that arise at the intrusion of the play are: ‘Will the women complete the order of dresses by the deadline?’ and ‘Will Estela have enough money to pay the lawyer, resolve her criminal record, and get her green card?’. Another question that comes up later on in the play is: ‘Will Ana go to college and fulfill her dream of becoming a writer?’. At the end of the play, the five women do complete the order or time. They also each gave Estela their paychecks so that she can resolve her financial issues and get her green card. Additionally, in her narrative conclusion, Ana informs the audience that she does go on to attend college and become a writer
5. Use Ana, the central character, to answer the questions. Ball says, a character is revealed by what he/she does, that is, the dramatic actions that are taken by that character. Examine what Ana wants (NOTE: In Real Women Ana's wants seem to be in flux. They change as the play progresses). The wants of a character often encounter obstacles that get in the way of achieving those wants. Ball says there are 4 kinds of obstacles that frustrate the wants of a character. They are: a. Me against myself, b. Me against another individual, c. Me against society (that is law, social norms, etc.) and, d. Me against fate, the universe, natural forces, God or the gods. In answering these questions be sure to point to the particular obstacles that demonstrate these obstacles. Ana’s primary goal to attend college and become a writer is hindered by several obstacles: the limitations of her socio-economic status, her pending financial aid, and the schedule of her daily life (Ana against the world/her current life). Ana’s work schedule leaves no time for writing. Therefore, in order to make time to practice and improve her skills, Ana has to lock herself in the bathroom. In addition to struggling to find time for her passion, her dream of becoming a writer is threatened by her potential inability to go to college. Ana can’t afford tuition and has to wait a year to see if she qualifies for financial aid. Essentially, Ana feels as though she is working against the entire world to pursue her goal. Over the course of the play, it becomes clear that Ana is fighting to be recognized as an independent, full-fledged woman (Ana against others/the perceptions of others). Throughout the play Ana is constantly treated like a child and not like a mature equal. She fights to dispel this notion of her being too young saying “I’m not a girl, I’m a woman’. She even confides in her diary that, “like the rest of the women, [her mother] won’t take [her] seriously”. Ultimately, the audience witnesses Ana’s fight against the perceptions of the older women so as to be respected as an equal. Another obstacle that we see Ana trying to overcome is the old-world views on the place and limits of women (Ana against society). Carmen, Pancha, and Rosalí all have dated perspectives on how a woman can/should act/be treated. Ana tries to combat these old conventions and convince the older women of their rights. More specifically, Ana preaches feminist ideologies like intolerance of domestic abuse, a woman’s right to say no, sexual liberty, and anti-sexualization of women. Ana is fighting back the anti-feminist social conventions that Pancha, Carmen, and Rosalí are used to.
6. The most important information in most plays takes place during theatrical moments. Identify the most theatrical moments in Real Women Have Curves. The most theatrical moments in Real Women Have Curves is when the five women strip down to their underwear and compare and complain about their flaws. In stripping down to their insecurities, they shock the audience and draw attention to one of the most quintessential moments of the entire play. It is in this scene, that the five women reach a sense of proud self-acceptance and the idea to start their own clothing business is born.
7. Provide at least three examples of images in Real Women. How does the title of the play help us understand the images in the play? (Remember Ball says that, “An image is the use of something we know that tells us something we don’t know.” He goes on to say that images invoke and expand, rather than define and limit.”) Some of the images that we see throughout Real Women Have Curves are: the stretchmarks on each of the women, the dress that Estela makes, and the boutique ‘Real Women Have Curves’. The stretchmarks that the women complain about when they are stripping down in the play may seem like a common insecurity but they reveal a deeper message: those stretchmarks are a part of being a woman (image #1). Stretchmarks are the result of having curves, breasts, and giving birth. Stretchmarks are the markings of a ‘real’, modern woman. Estela realizes this towards the end of the play and decides to make herself a dress for her size (image #2). In addition to being a sign of Estela’s acceptance of herself as a ‘real’ woman, curves and all, this dress symbolizes her determination to take control of her life; she’s tired of trying to change herself to fit into a size and decides to make a size that fits her. This all leads to the eventual founding of her boutique Real Women Have Curves (image #3). This boutique acts as the physical manifestation of each of the characters’ new-found confidence, self-acceptance, and their titles as real women.
8. Ordinarily, there are many themes in most plays. List the themes in Real Women. Some of the more predominant themes in Real Women Have Curves are: feminism (sexual and social liberation, education, etc.), aspiring to a better future/ taking control of one’s life, and the strength of the bonds between women.
9. Most American plays have something to do with family and/or family relationships. What does family have to do with the dramatic action in Real Women? Is family redefined in this play? If so, how and why? This play focuses on the development of an unbreakable bond between the five female characters. The entire point of the play is to demonstrate the strong relationship between females with a common goal. Throughout the play, the women all act as one family, related or not, caring for and helping one another. The five of them share the same experiences and grow together. That is how this play defines family: the bond that comes from convergent growth and mutual experience.
It is September of 1987 in Los Angeles. Estela is the owner of the Garcia Sewing Factory where she, Ana (Estela’s younger sister), Carmen (Estela and Ana’s mother), Pancha, and Rosalí work.
2. What is the intrusion that causes the stasis to be broken in the play and the dramatic action to develop, often at an increasingly rapid pace, to the end of the play?
The intrusion of the play begins with the initial sighting of ‘la migra’. When Carmen spots the van, assuming it is ‘la migra’, all of the women hide out of habit. Remembering that they are legal now, they realize that they have nothing to hide. This leads Estela to confess that she, in fact, is not legal. From there, she explains that she cannot get her green card because of her criminal record. And that she cannot afford a lawyer to resolve her record. Furthermore, she is being sued for not keeping up with her monthly payments on the sewing machinery she bought and cannot be paid unless she fills the dress orders on time. Therefore, Estela and her employees need to complete the dress order by a rapidly approaching deadline in order to pay for her lawyer and dues, clear her record and get her green card (all while under the threat of ‘la migra’ finding and deporting Estela). Overall, the sighting of ‘la migra’ unveils Estela’s web of interconnected dilemmas and sets up the issues that are resolved at the end of the play.
3. Why do the events of the play take place at this particular time and place? In other words, what is the unique factor which is out of the ordinary that causes a turn of events to take place?
This is the day that Ana tells her story to the audience.
4. State the dramatic questions that must be answered by the end of the play? (Ordinarily, the dramatic question shares a close connection with the intrusion.)
Two of the major questions that arise at the intrusion of the play are:
‘Will the women complete the order of dresses by the deadline?’ and ‘Will Estela have enough money to pay the lawyer, resolve her criminal record, and get her green card?’. Another question that comes up later on in the play is: ‘Will Ana go to college and fulfill her dream of becoming a writer?’. At the end of the play, the five women do complete the order or time. They also each gave Estela their paychecks so that she can resolve her financial issues and get her green card. Additionally, in her narrative conclusion, Ana informs the audience that she does go on to attend college and become a writer
5. Use Ana, the central character, to answer the questions. Ball says, a character is revealed by what he/she does, that is, the dramatic actions that are taken by that character. Examine what Ana wants (NOTE: In Real Women Ana's wants seem to be in flux. They change as the play progresses). The wants of a character often encounter obstacles that get in the way of achieving those wants. Ball says there are 4 kinds of obstacles that frustrate the wants of a character. They are: a. Me against myself, b. Me against another individual, c. Me against society (that is law, social norms, etc.) and, d. Me against fate, the universe, natural forces, God or the gods. In answering these questions be sure to point to the particular obstacles that demonstrate these obstacles.
Ana’s primary goal to attend college and become a writer is hindered by several obstacles: the limitations of her socio-economic status, her pending financial aid, and the schedule of her daily life (Ana against the world/her current life). Ana’s work schedule leaves no time for writing. Therefore, in order to make time to practice and improve her skills, Ana has to lock herself in the bathroom. In addition to struggling to find time for her passion, her dream of becoming a writer is threatened by her potential inability to go to college. Ana can’t afford tuition and has to wait a year to see if she qualifies for financial aid. Essentially, Ana feels as though she is working against the entire world to pursue her goal.
Over the course of the play, it becomes clear that Ana is fighting to be recognized as an independent, full-fledged woman (Ana against others/the perceptions of others). Throughout the play Ana is constantly treated like a child and not like a mature equal. She fights to dispel this notion of her being too young saying “I’m not a girl, I’m a woman’. She even confides in her diary that, “like the rest of the women, [her mother] won’t take [her] seriously”. Ultimately, the audience witnesses Ana’s fight against the perceptions of the older women so as to be respected as an equal.
Another obstacle that we see Ana trying to overcome is the old-world views on the place and limits of women (Ana against society). Carmen, Pancha, and Rosalí all have dated perspectives on how a woman can/should act/be treated. Ana tries to combat these old conventions and convince the older women of their rights. More specifically, Ana preaches feminist ideologies like intolerance of domestic abuse, a woman’s right to say no, sexual liberty, and anti-sexualization of women. Ana is fighting back the anti-feminist social conventions that Pancha, Carmen, and Rosalí are used to.
6. The most important information in most plays takes place during theatrical moments. Identify the most theatrical moments in Real Women Have Curves.
The most theatrical moments in Real Women Have Curves is when the five women strip down to their underwear and compare and complain about their flaws. In stripping down to their insecurities, they shock the audience and draw attention to one of the most quintessential moments of the entire play. It is in this scene, that the five women reach a sense of proud self-acceptance and the idea to start their own clothing business is born.
7. Provide at least three examples of images in Real Women. How does the title of the play help us understand the images in the play? (Remember Ball says that, “An image is the use of something we know that tells us something we don’t know.” He goes on to say that images invoke and expand, rather than define and limit.”)
Some of the images that we see throughout Real Women Have Curves are: the stretchmarks on each of the women, the dress that Estela makes, and the boutique ‘Real Women Have Curves’. The stretchmarks that the women complain about when they are stripping down in the play may seem like a common insecurity but they reveal a deeper message: those stretchmarks are a part of being a woman (image #1). Stretchmarks are the result of having curves, breasts, and giving birth. Stretchmarks are the markings of a ‘real’, modern woman. Estela realizes this towards the end of the play and decides to make herself a dress for her size (image #2). In addition to being a sign of Estela’s acceptance of herself as a ‘real’ woman, curves and all, this dress symbolizes her determination to take control of her life; she’s tired of trying to change herself to fit into a size and decides to make a size that fits her. This all leads to the eventual founding of her boutique Real Women Have Curves (image #3). This boutique acts as the physical manifestation of each of the characters’ new-found confidence, self-acceptance, and their titles as real women.
8. Ordinarily, there are many themes in most plays. List the themes in Real Women.
Some of the more predominant themes in Real Women Have Curves are: feminism (sexual and social liberation, education, etc.), aspiring to a better future/ taking control of one’s life, and the strength of the bonds between women.
9. Most American plays have something to do with family and/or family relationships. What does family have to do with the dramatic action in Real Women? Is family redefined in this play? If so, how and why?
This play focuses on the development of an unbreakable bond between the five female characters. The entire point of the play is to demonstrate the strong relationship between females with a common goal. Throughout the play, the women all act as one family, related or not, caring for and helping one another. The five of them share the same experiences and grow together. That is how this play defines family: the bond that comes from convergent growth and mutual experience.